LINE DEVELOPMENT

The creation of a line or collection that is presented for sale during a specific time period

• 50s/60s = 2 lines per year
• 70s = 4 lines per year
• 80s/90s = 10-12 lines per year (3 spring, 3 fall, 1 summer, 2 holiday, + resort, etc)

• Consumer desire for constant change
• Accessibility to trend information (via Internet)
• Increased regional distinction
• Faster product cycles

• Understanding: the target consumer
• Conceptualization: visualize new ideas and communicate concepts
• Creation: development of finished styles
• Must share the critical eye of the target marget

• Color
• Fabric/Texture
• Silhouette
• Details (including graphics)

• Does it hit a new market?
• Does it fulfill a void in an existing market?
• Price issues

• Is the line design-driven or price-driven?
• Basics vs. fashion items
• Fabric-driven or silhouette-driven?
• Fit, function, or fashion, or can we integrate all of them?

• Keep it directed (not too many different styles)
• Bottoms- or tops-driven?
• Pick an item or two to anchor the line
• What categories do we need to cover?

• CAD
• Photos
• Illustrations

• Is our logo important?
• Are we a graphics-driven line?
• Types of graphics
• Prints, embroideries, etc.
• Size and location of graphics

• Line: visual path the eye follows when viewing a garment
• Shape: basic shape of garment
• Texure: surface variations, fabrics

• The overall outline of a garment
• Created by the cut and construction of a garment
• Can reveal or disguise the natural body contour (most flattering = hides least attractive feature and highlights most attractive)

• Narrow center panel or button placket
• Vertical trimming
• Princess seams
• Neck to hem closing

• Widely spaced vertical lines
• Large bold horizontal stripes
• Large stripes, even vertical ones

• Proportion
• Balance
• Rhythm (unity or unified look)
• Emphasis
• Harmony (lines of a garment)

• RATIOS
• How lines and shapes divide the space, garment, or outfit into parts
• Involves the relationship of one part/space compared to another, compared to the whole garment, and to the body
• Uneven proportions/ratios are generally more interesting

• Refers to how lines, shapes, colors, textures, and patterns are used to break up an area or space into parts
• Can increase or decrease apparent visual weight
• Can be symmetrical or asymmetrical

• Both sides are EXACTLY the same (mirror image)
• Gives a very solid and professional look
• Aka "formal balance"

• Tends to draw attention to a particular area
• Aka "informal balance"

• A dominant focal point in a garment or outfit created by the use of line, shape, color, texture, and/or pattern
• A point for the eye to rest on for a period of time
• An outfit without a dominant point of interest appears boring/unfinished
• There can be TOO much emphasis = distracting, confusing

• Refers to how attention is led around the garment or the outfit
• Achieved when the lines, shapes, colors, textures, or patterns are arranged to lead the viewer's eye easily from one part of the garment to another

• Repitition of line, shape, color, texture, or pattern within the design
• Ex: row of buttons, trim on collar and cuffs

• Gradual change in lines, shapes, color values, or textures within a design
• Degree of change must be SMALL so-as not to be choppy

Lines, shapes, colors, or textural folds inward or outward from a central point or area

• Use of lines, shapes, colors, textures, and patterns with enough variety to avoid boredom, but not enough to create conflict
• Balance of variety and unity

When the design has differences to create interest

• A sense of completeness
• When nothing is missing, left out, or undone

• Time it takes from beginning the line development process to shipment of the styles to the retailer
• Desire for more product lines = merchandisers must work to streamline the development process

• QR philosophy
• CAD
• Video conferencing (production & sales meetings)
• Access to product information 24/7

• Need to establish a creative environment for design team (might be different from that of the rest of the corporation)
• Create smaller, designer-friendly area for cross-pollination of ideas

• Buying actual garments (for fit, fabric, detailing, construction...)
• Collecting tear sheets > concept boards
• Sketching design ideas (croquis & CAD)

• Shows styles, colors, fabrics, and sizes
• Based on project volume or desired SKU plan
• Need to create sufficient design to meet projected sales
• Balance for fashion content based on target market

• A control method for designers
• Breaks the creative process into smaller units
• Breaks the line into price categories
• Easy way to monitor the creative process

• 1) Fabrics selected
• 2) Color palette chosen
• 3) Silhouettes created

• Created for each style
• Includes a style #, fabric, colors, description, size range

• First sample
• Used for fit purposes & initial price idea
• Produced in whatever fabric & color is available

Sets of patterns for each basic garment type produced by the company

• In-house
• Freelance
• Factory-produced using detailed spec sheet

• Prototype process provides an opportunity for costing data
• Merchandiser can use this data plus historical costing info to estimate costs for any given style
• Styles may be dropped or revised based on pre-costing

• Initital specs sent to factor for proto
• Corrections based on proto samples then added to spec sheet
• Product engineering - can we reduce cost by adjusting patterns?
• Care labels - wash instructions, country of origin, fabric content, RN #

• Detailed cost to manufacture a garment
• Includes:
• -Fabric consumption
• -Labor costs
• -Trim costs
• -Embellishment costs
• -Finishing costs
• -Packaging costs

• Point at which it is decided which styles will be a part of the line
• Line is reviewed constantly throughout the development process